Stories By English Authors: France (Selected by Scribners) — Background and Themes

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Stevenson, Robert Louis, 1850-1894 [Contributor], Collins, Wilkie, 1824-1889 [Contributor], Ouida, 1839-1908 [Contributor], Stretton, Hesba, 1832-1911 [Contributor], Weyman, Stanley John, 1855-1928 [Contributor] Project Gutenberg 2006 Not confirmed
France -- Fiction; Short stories, English Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 48,062
Reading time 209 min
Text sections 5

This digital edition of Stories By English Authors: France (Selected by Scribners) — Background and Themes is described by source-level measurements including 48,062 words, 3 hr 29 min estimated reading time, and 5 detected text sections.

The text analysis averages about 21.0 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “France -- Fiction,” connecting these edition facts with the source record’s subject description.

Five stories by English authors set in France, including Robert Louis Stevenson's 'A Lodging for the Night' and Wilkie Collins's 'The Traveller's Story of a Terribly Strange Bed,' each offering distinct narrative voices and settings from medieval Paris to gambling houses.
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Read the Text

re was not much to betray it from without; only a stream of warm vapour from the chimney-top, a patch where the snow melted on the roof, and a few half-obliterated footprints at the door. But within, behind the shuttered windows, Master Francis Villon, the poet, and some of the thievish crew with whom he consorted, were keeping the night alive and passing round the bottle.

A great pile of living embers diffused a strong and ruddy glow from the arched chimney. Before this straddled Dom Nicolas, the Picardy monk, with his skirts picked up and his fat legs bared to the comfortable warmth. His dilated shadow cut the room in half; and the firelight only escaped on either side of his broad person, and in a little pool between his outspread feet. His face had the beery, bruised appearance of the continual drinker’s; it was covered with a network of congested veins, purple in ordinary circumstances, but now pale violet, for even with his back to the fire the cold pinched him on the other side. His cowl had half fallen back, and made a strange excrescence on either side of his bull-neck. So he straddled, grumbling, and cut the room in half with the shadow of his portly frame.

On the right, Villon and Guy Tabary were huddled together over a scrap of parchment; Villon making a ballade which he was to call the “Ballade of Roast Fish,” and Tabary sputtering admiration at his shoulder. The poet was a rag of a man, dark, little, and lean, with hollow cheeks and thin black locks. He carried his four and twenty years with feverish animation. Greed had made folds about his eyes, evil smiles had puckered his mouth. The wolf and pig struggled together in his face. It was an eloquent, sharp, ugly, earthly countenance. His hands were small and prehensile, with fingers knotted like a cord; and they were continually flickering in front of him in violent and expressive pantomime. As for Tabary, a broad, complacent, admiring imbecility breathed from his squash nose and slobbering lips; he had become a thief, just as he might have become the most decent of burgesses, by the imperious chance that rules the lives of human geese and human donkeys.

At the monk’s other hand, Montigny and Thevenin Pensete played a game of chance. About the first there clung some flavour of good birth and training, as about a fallen angel; something long, lithe, and courtly in the person; something aquiline and darkling in the face. Thevenin, poor soul, was in great feather; he had done a good stroke of knavery that afternoon in the Faubourg St. Jacques, and all night he had been gaining from Montigny. A flat smile illuminated his face; his bald head shone rosily in a garland of red curls; his little protuberant stomach shook with silent chucklings as he swept in his gains.

“Doubles or quits?” said Thevenin.

Montigny nodded grimly.

“Some may prefer to dine in state,” wrote Villon, “on bread and cheese on silver plate. Or, or--help me out, Guido!”

“Or parsley on a golden dish,” scribbled the poet.

The wind was freshening without; it drove the snow before it, and sometimes raised its voice in a victorious whoop, and made sepulchral grumblings in the chimney. The cold was growing sharper as the night went on. Villon, protruding his lips, imitated the gust with something between a whistle and a groan. It was an eerie, uncomfortable talent of the poet’s, much detested by the Picardy monk.

“Can’t you hear it rattle in the gibbet?” said Villon. “They are all dancing the devil’s jig on nothing, up there. You may dance, my gallants; you’ll be none the warmer. Whew, what a gust! Down went somebody just now! A medlar the fewer on the three-legged medlar-tree! I say, Dom Nicolas, it’ll be cold to-night on the St. Denis Road?” he asked.

Dom Nicholas winked both his big eyes, and seemed to choke upon his Adam’s apple. Montfaucon, the great, grisly Paris gibbet, stood hard by the St. Denis Road, and the pleasantry touched him on the raw. As for Tabary, he laughed immoderately over the medlars; he had never heard anything more light-hearted; and he held his sides and crowed. Villon fetched him a fillip on the nose, which turned his mirth into an attack of coughing.

“Oh, stop that row,” said Villon, “and think of rhymes to ‘fish’!”

“Doubles or quits? Said Montigny, doggedly.

“With all my heart,” quoth Thevenin.

“Is there any more in that bottle?” asked the monk.

The collection opens with Robert Louis Stevenson's 'A Lodging for the Night,' set in a snowbound Paris of 1456. The narrator describes the snow 'silent, circuitous, interminable' and introduces the poet Villon, who jests about Jupiter and angels. The prose is dense with sensory detail—the 'dull sound dripping about the precincts of the church,' the gargoyles 'transformed into great false noses.' This story establishes a pattern of atmospheric, historically grounded settings that recur across the volume.

Contrasting Gambling Houses

Wilkie Collins's 'The Traveller's Story of a Terribly Strange Bed' offers a sharp shift in tone. The narrator scorns the 'ghastly respectabilities' of a fashionable gambling-house and seeks 'genuine, blackguard, poverty-stricken gaming.' The description of the second gambling room emphasizes silence and tragedy: 'The quiet in the room was horrible.' The players are types—'the thin, haggard, long-haired young man,' the 'flabby, fat-faced, pimply player'—and the croupier's voice sounds 'strangely dulled.' This contrast between the two gambling venues sets up the story's central tension between appearance and reality.

The Narrator's Descent into Play

Collins's narrator insists he was never a gambler by nature: 'My gaming was a mere idle amusement.' Yet on this night, winning 'prodigiously' intoxicates him. He notes that he lost only when he attempted to calculate chances, and won when he left everything to luck. This psychological shift—from detached observer to passionate player—is rendered in the first person, drawing the reader into the narrator's growing obsession. The passage illustrates how the story uses interiority to build suspense, a technique distinct from Stevenson's more external, descriptive approach.

Recurring Motifs Across the Collection

Both excerpts share a fascination with marginal spaces and characters. Stevenson's Paris is a city of 'poor people' and a 'young rascal' poet; Collins's gambling den is filled with 'blackguards' and desperate men. The settings are rendered with precise, almost tactile language—snow that 'fell over Paris with rigorous, relentless persistence' versus a room where 'even the voice of the croupier sounded as if it were strangely dulled.' These details suggest that the collection as a whole may explore how environment shapes human behavior, though the excerpts alone do not reveal the full arc of any story.

Narrative Voice and Structure

Stevenson uses a third-person narrator who observes Villon and the city with a detached, almost cinematic eye. Collins employs a first-person narrator who recounts his own experience, creating immediacy and a sense of unreliable memory. The opening of Collins's story includes a 'Prologue to the First Story,' hinting at a framing device that may connect the tales. The variety in narrative perspective—from historical omniscience to personal confession—offers readers a range of entry points into the fictional world of France, though the excerpts provide no evidence of how these voices interact or resolve.

Readers approaching this collection should attend to the distinct narrative strategies each author employs. The excerpts reveal a deliberate juxtaposition of styles: Stevenson's atmospheric historical fiction, Collins's psychological thriller, and the other authors' contributions likely offer further variation. Pay attention to how each story constructs its setting and narrator, as these choices shape the reader's experience of France as both a real and imagined space.

I keep thinking about those stories set in France—how their ghosts feel more like weather than hauntings, settling in without knocking. Under the Deodars — Inside the Classic left a similar hush behind for me, the way certain places seem to hold a room’s whispered conversations long after. It lingers quietly, not insistently, like a memory you’re almost glad to carry.

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